A Chorus Lineis a legendary show. It’s a Pulitzer Prize-winner that ran on Broadway for 15 years, which was a record for a long time. It’s somewhat odd to think that such a “small” show had achieved such big success, but it shouldn’t be that strange considering its human drama, memorable score, and timeless appeal, especially for anyone who has at any time been involved in theatre and especially dance. The Muny is almost too big a venue to put on this show, really, although this latest production, the show has been “opened up” in a few ways that, for the most part, are successful and add to the classic appeal of this show.

The premise is fairly simple. A group of dancers are trying out for roles in the chorus of an unnamed Broadway show, and the director, Zach (Ivan Hernandez) interviews them to find out more about their backgrounds, what dance means to them, and why they want this job. Most of the dancers are veteran performers for whom this is a “make or break” type of situation career-wise, although there are a few younger dancers in the group who are looking for their big breaks. Even though the roles are cast near the end of the show, the real drama here is not as much about who gets the job and who doesn’t. What’s most interesting is who these people are, and how they got to where they are now. There’s a small semi-romantic subplot involving one of the dancers, Cassie (Bianca Marroquin), but the real drama, and the real romance, is about the stage life itself. The show’s most famous number, “What I Did For Love”, for instance, isn’t about a romantic relationship, but rather about the dancers’ relationship with their art. This show is, with all its drama and occasional critiques of the business, still essentially a love letter to the life of a performer. It has a St. Louis connection as well, as a few of the dancers involved in the original talk sessions that led to the development of the show were from here, and the few references to St. Louis in the show are met with enthusiastic applause from the audience.

The show here at the Muny has been modified slightly to fit the enormous Muny stage and to include the Muny’s youth ensembles, with varying degrees of effectiveness. For the most part, the additional ensemble members in some scenes do succeed in helping the show fill out its space, although sometimes the inclusion of the kids’ ensemble seems unnecessary. For instance, it’s interesting to see the dancers tell the stories of their childhood experiences aided by the addition of a child performer as a younger version of the older actor, but this works better in some situations (“I Can Do That”) than in others (“At the Ballet”). There are other ways the show is opened up, as well, such as through the use of video projections designed by Nathan W. Scheuer, which are especially effective in Cassie’s (Bianca Marroquin) featured number, “The Music and the Mirror”. The set, by Paige Hathaway, is fairly simple, and that works for this show, and Andrea Lauer’s costumes are appropriate for the characters and the mid-1970s setting of the piece. There’s also extremely effective lighting by Rob Denton that helps maintain the overall atmosphere of this production.

The cast here is excellent, and each gets a moment to shine, although some more than others. The entire company is strong, excelling in singing and acting as well as dancing. The standouts for me are Ian Paget as Paul, whose “showcase moment” is a heartbreaking monologue near the halfway point of the show (there is no intermission), as well as Holly Ann Butler as the tough-talking Sheila. There’s also Madison Johnson as the somewhat flight Kristine, who has a problem with singing, highlighted in the song “Sing”, a clever duet with her husband and fellow auditioner Al (Rick Faugno). Other standouts include Marroquin as the determined Cassie, Sean Harrison Jones as the athletic dancer Mike, Evan Kinnane as the socially awkward Bobby, and especially Hannah Florence as the dedicated dancer Diana, who shines leading the cast in “Nothing” and “What I Did For Love”. The whole ensemble is strong, though, displaying energy and style in the production numbers and solos alike, and performing director Denis Jones’s dynamic choreography well, especially in the show’s iconic closing number “One”.

A Chorus Lineis, to use a somewhat overused term, iconic. it’s one of those shows that everyone who loves musicals should see at least once, and even though the show has been modified slightly to fit the huge stage and play to the enormous audience at the Muny, its essence is preserved. It’s a celebration of music, dance, and humanity, well represented in this fine production.

Cast of A Chorus LinePhoto: The Muny

The Muny is presenting A Chorus Line in Forest Park until August 4, 2017.